|Home||Animation & Cartoons | Arts & Music | Community Video | Computers & Technology | Cultural & Academic Films | Ephemeral Films | Movies | News & Public Affairs | Prelinger Archives | Spirituality & Religion | Sports Videos | Television | Videogame Videos | Vlogs | Youth Media|
|Anonymous User (login or join us)|
This new work was created using film contained within Lux's film archive to collage, rearrange and alter the content into a piece to be made available online to further promote the artists work in the Lux Collection. In effect this is a piece containing work made as art, recontextualised by an artist, hence Resemblage. The permission of the holders of the original films have been sought before using their work. Resemblage was created with thanks, using film by the following artists: Alan Berliner, Lawrence Jordan, People Like Us, Semiconductor and the Estate of Stan Vanderbeek.
PEOPLE LIKE US (Vicki Bennett) creates audio-visual collage using sampling and found footage, often from the renowned Prelinger Archives. These appropriated elements compose the arena where recontextualized sounds and images begin to take on new lives, giving way to multiple worlds of mirrored images. The result is a labyrinthine universe of alchemical mystery where equal measures of lighthearted humour and sinister satire create a balanced art. By using A/V elements from throughout the 20th C., Bennett paradoxically breathes new interpretations into our current relationship with technology. Her work is a delightful parody of both past and present European and American culture.
LUX is Europe's largest distributor of artists' film and video. Based on the collections of the London Filmmakers' Coop and London Video Arts LUX represents over 4000 titles dating from the 1920s to the present day. for more information see www.lux.org.uk
This movie is part of the collection: Prelinger Archive Mashups
Director: Vicki Bennett
Producer: Vicki Bennett
Audio/Visual: sound, B&W/color
Contact Information: Artist: Vicki Bennett (www.peoplelikeus.org) Distributor: LUX (www.lux.org.uk)
Creative Commons license: Attribution-NonCommercial
|Movie Files||MPEG2||Ogg Video||512Kb MPEG4|
|Image Files||Animated GIF||Thumbnail|
conor d -
what can i say, other than i loved your videos so much i made a track that i thought suited the themes you have going on. There is something really charming about your work that left me quite inspired
this is my tribute to your videos Vicki! Great work
Subject: An enjoyable short film which mixes animation and film footage. not very long.
I quote one of the reviews above because it is helpful and informative without being pretentious or smug, unlike all the others. "An enjoyable short film which mixes animation and film footage. Not very long." And that's what it is. It's not a masterpiece, and to be honest it's not really my thing. But I'm not going to spend several hundred words attacking what is obviously a short film made (I guess) reasonably quickly with simple and well achieved aims, by lumbering it with a load of false meanings and then attacking them one by one. If the people who so readily give their negative, pompous and ill informed opinions on art actually tried to make something once in a while they might respond differently. Just a thought...
I'm not a big fan of "art" that takes more length of time to explain what it is than the actual amount of time it takes to view the piece and process for yourself an interpertation. This movies detailed description pretty much sums up how I feel about it.
Rupert G -
Subject: Ubu is here...
Couldn't disagree with the first reviewer more, who seems to be applying all manner of inappropriate rules and then complaining that they're not met. I doubt VB prayed five times a day to Mecca during the making of this piece, but so what?
Like all good surrealism, the sequences of images catch like burrs on the fabric of comfortable reality and pulls it into uneven new shapes. Self-referential, non-didactic and pleasingly playful, Resemblage is delightfully short - so much so that it's worth watching it a few times in a row. There are things afoot, but you've got to fiddle with your perceptual tuning knob a bit to get the message through the sulphur-scented static.
As with PLU's previous work, there's a playful but not entirely flippant consciousness here, speaking in a language that's simultaneously more and less familiar than it looks. Creativity, context, control and chaos are interwoven in a compelling and slightly sinister way - in one of the more captivating sequences, an intensely fluid orchestral conductor whips up a storm (with a truly appalling visual pun that can only be applauded) that mutates to an ominously flickering bright light behind what might be a distant city, but which then transforms by being observed into a celestial journey with echoes of 2001's Stargate sequence.
Do we control our thoughts, our creations, or surrender to them? It's not a bad question, and it runs through Resemblage like raindrops down a car window. And it's all topped off with that trademark PLU sheen of true psychedelia - refreshing the palate like a sliver of ginger between the indigestible lumps of media stodge we get served up by way of culture these days. Oh, and Satie gets blown up at the end.
Ya can't complain.
Robert Jordan -
Subject: Why PLU's work doesn't work
These collaged pieces aren't really film, and really don't extend the definition of film. They are conveniently collaged in a computer program and "recontextualized." But they are nothing more than an aesthete's failed attempt at creating something purportedly important or relevant.
Bennett's employ of the films she has used is nothing more than arbitrary, or at best, an homage to works she loves. Kind of like a Kiss cover band who may slightly rearrange Black Diamond. She claims that her work is surreal, yet her work isn't automatic and isn't wholly guided by her subconscious. Indeed, this a common misperception of many "artists" working today, who, if they feel their work has an element or two reminiscent of any surrealist, claims their work as being such. As well, she claims her work is dada, and for many the same or similar reasons it is not that either. What it is is a good instance of the incredible lameness of postmodernism, or the depthless outer crusts of deconstruction--obvious rearrangements of pre-existing elements.
It's been said that Bennett has claimed that the Americans have no idea how much Europeans have to talk crap to get funding for their work. Well, at least they have that option. But it's another thing entirely when the "artist" begins to believe the crap they speak about their own work.
Bennett also does not credit those who do her publicity writing for her. It seems that she'll credit when she's damn good a ready to, or when it suits her convenience.
So, in a nutshell, her work is little more than playful plagiarism, and because of its regrettable open-endedness (ahem), it is open to many interpretations; many of which are far too forgiving. I think the institutions who actually fund this work should rethink why they are giving money to a con-artist. This is not film.
Subject: new twist for People Like Us
Quite different from other works by Vicki Bennett of People Like Us, Resemblage is a film which leaves its interpretation more open as opposed to her past, more narratively oriented works. This film also has a slightly darker feel to it, until the ending which brings you back to her humorous antics.
an enjoyable short film which mixes animation and film footage. not very long.